When promoting his film adaptation of the 1992 novel Poor Things, Yorgos Lanthimos has often shown pride in his decision to centre the narrative around its female protagonist Bella, allegedly converting an epistolary novel told largely through male perspectives into a solely female-driven story, deploying all the magic of cinematic imagery to convey the world […]

When thinking – as one does – about the intricacies of depicting something at once as terrifying, visceral and extremely socially sensitive as rape on film, my mind often turns to the famous scene in Polanski’s Rosemary’s Baby, in which the protagonist, presumably drugged and only half asleep, is either raped, or dreams that she

Throughout history, fiction has had a particular talent for attracting vitriolic outrage, for the power it allegedly holds over impressionable minds. At a time when this very sentiment seems to have been experiencing a peak in popularity for quite some time – and across the political spectrum – I have spent much of my youth